In which I issue a photoshop challenge to my art-inclined friends.
Art, after all, doesn’t just exist in the time it was created. It speaks to us from the time of its creation, sometimes whispering and sometimes screaming, always waiting for us to hear. And this particular painting has a lot to tell us about influence, privilege, crime and humiliation.
Rabbi Menasseh ben Israel was the most forward-thinking rabbi in Amsterdam, if not the world, in the 1600s. He was considered the most famous Jew in Europe then, but he struggled to find respect among his neighbors. He’s still an inspiring figure today.
So what does all this say about Rembrandt and Vermeer? Can we draw any conclusions about the two men based on the work they produced? As a writer myself, it’s hard for me to imagine that you can separate an artist from their creation. One depends upon the other.
If there’s one thing that separates humans from the other animals, I’d say it’s our immense talent for creating divisions among ourselves. Of creating an “us” vs. a “them.” Of tribalism.
Jews, I’m sorry to say, are no different.
At long last, Rembrandt’s “Night Watch” is due for a bath and a little TLC. Perhaps soon, it will be a little easier to see the details Rembrandt committed to immortality.
According to a recent story in the Daily Beast, the true story of the Isabella Stewart Gardner Museum art heist may be ready to unravel.
Few people realize that during his own lifetime, Rembrandt was equally — if not more — known for his printmaking. There are about 300 paintings attributed to the artist. He also made 290 plates for printmaking, and each of those was used to make “scores, even hundreds” of impressions of each.